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DENISON'S ACTING PLAYS 

Partial List o f Successful and Popular Plays. Large Catalogue Free. 
Price 15c each, Postpaid, Unless Different Price Is Given 


DRAMAS, COMEDIES, 
ENTERTAINMENTS, Etc. 

M. F. 

Aaron Boggs, Freshman, 3 

acts, 2(4 hrs.(25c) 3 8 

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2 hrs.(25c) 15 

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hrs.(25c) 7 5 

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acts, 2(4 hrs.(25c) 6 14 

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(25c) .17 

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1(4 hrs.(25c) 16 2 

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hrs.(25c) 7 3 

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acts, 2(4 hrs.(25c) 6 4 

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acts, 2(4 hrs.(25c) 6 13 

Editor-in-Chief, 1 hr. ...(25c) 10 

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Evcryyouth, 3 acts, 1 (4 h. (25c) 7 6 
Face at the Window, 3 acts, 2 

hrs.(25c) 4 4 

Fifty-Fifty, 3 acts, 2 hrs. (35c) 6 8 
Fun on the Podunk Limited, 

1 y 2 hrs.(25c) 9 14 


M. F. 

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2 hrs. .(25c) 3 5 

High School Freshman, 3 acts, 

2 hrs.(25c) 12 

Indian Days, 1 hr.(50c) 5 2 

In Plum Valley, 4 acts, 2(4 

hrs..(25c) 6 4 

Jayville Junction, 1(4 hrs. (25c) 14 17 
Kicked Out of College, 3 acts, 

2(4 hrs.(25c) 10 9 

Kingdom of Heart’s Content, 3 

acts, 2(4 hrs.(25c) 6 12 

Ladv of the Library, 3 acts, 2 

hrs.(25c) 5 10 

Laughing Cure, 2 acts, 1(4 hrs. 

(25c) . 4 5 

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hrs.(25c) 5 4 

Little Buckshot, 3 acts, 2(4 hrs. 

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Little Clodhopper, 3 acts, 2 

hrs.(25c) 3 4 

Mirandy’s Minstrels.... (25c) Optnl. 
Mrs. Tubbs Does Her Bit, 3 

acts, 2(4 hrs.(25c) 7 7 

Mrs. Tubbs of Shantytown, 3 

acts, 2(4 hrs.(25c) 4 7 

Old Fashioned Mother, 3 acts, 

2(4 hrs.(25c) 6 6 

Old Maid’s Club, 1(4 hrs.(25c) 2 16 

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Old School at Hick’ry Holler, 

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On the Little Big Horn, 4 acts, / 

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Sewing for the Heathen, 40 min. 9 
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scenes, 35 min. 7 3 

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Thread of Destinv, 3 acts, 2(4 

hrs.(25c) 9 16 

Tony, the Convict, 5 acts, 2(4 

hrs.(25c) 7 4 


T. S. DENISON & COMPANY, Publishers, 154 W. Randolph St., Chicago 


































































ALL FOR THE CAUSE 


A COMEDY-DRAMA IN ONE ACT 


BY 


LINDSEY EjARBEE 


AUTHOR OF 


“After the Game,” “At the End of the Rainbow,” “The Call of the Colors,” 
“The Cell cf Woliclo,” “The Camouflage of Shirley,” “The Dream That 
Came True,” “The Fifteenth of January," “Her First Scoop," “The 
Kingdom of Heart's Content,” “The Promise of Tomorrow,” “Sing 
a Song of Seniors,” “The Spell of the Image," “Then Greek 
Met Greek,” “The Thread of Destiny,” “Tomorrow at Ten,” 

“The Trial of Hearts,” “A Watch, a Wallet and a Jack of 


Spades,” “When the Clock Strikes Twelve,” “The 
Whole Truth," “In the College Days,” “Let's Pre¬ 
tend—A Book of Children’s Plays," Etc. 



CHICAGO 

T. S. DENISON & COMPANY 


Publishers 








ALL FOR THE CAUSE 

— 

FOR TEN WOMEN CHARACTERS ^ 


(Named in order of appearance) 


Olive Dunlap. . j 
Julie Rogers. ... j 

Maggie. 

Elsa Scott. 

Lucy Miller. 

Ray Phipps. 

Ethel Porter.... 

Miss Emery. 

Riette de Cartier. 
Inez Rand.. 


. In Charge of the Contributions 

. . .From the Lunch Room Next Door 

. Of the Signal Corps 

Of the Red Cross Refreshment Corps 

. Of the Motor Service 

. A Contributor 

. Wealthy and Eccentric 

. With the Silver Box 

. Who Gives No Address 


Scene —A Room in an Office Building. 


Time— The Present 


Time of Playing— About an Hour and Fifteen Minutes 


COPYRIGHT, 1918, BY LINDSEY BARBEE 

2 ©ci,0 50G7I> 

NOV -7 1918 


/vv«s \ 
















ALL FOR THE CAUSE 


3 


STORY OF THE PLAY 

Olive Dunlap and Julie Rogers—who belong to a little 
club of five members, each of whom is pledged to some phase 
of national service—are in charge of the gold and silver 
articles contributed to the cause of the Red Cross. In their 
zeal for war work, these five girls have promised to raise 
fifty thousand dollars for Red Cross work, and having 
attained half the sum look eagerly to some one person for 
a lavish check which will send them “over the top.” Among 
those who visit the “treasure trove” room is Miss Emery, 
a wealthy and eccentric woman who has been generous in 
her gifts for war work without having the real, personal, 
consuming interest which means unrestricted effort. Among 
those who bring their contributions is a Belgian girl whose 
offering is a quaint silver box and who asks Julie as a 
favor, not to let it out of her possession, promising to return 
later on with an explanation of her request. A passer-by 
—who calls herself Miss Rand—enters; Julie is called from 
the room for a moment; and Olive, ignorant of the com¬ 
pact regarding the box, sells it to the stranger. Miss 
Emery, by an unconscious transfer of hand bags, gains 
possession of the box; and, later on, after an explanation 
which reveals the startling fact that the box contains an 
important state paper, triumphantly produces the lost article, 
and saves the day. Roused to the thrill of a personal part 
in the war drama, she subscribes the other half of the fifty 
thousand dollar fund so eagerly desired by the five ardent 
young patriots. 


SYNOPSIS. 

“Treasure Trove Day” brings Miss Emery to the scene 
of action. Unintentionally she becomes witness to a little 
drama of international significance. The transfer of bags 
makes her master of the situation and she is instrumental 
in saving from the enemy a communication which is of 
value to Belgium and to America. “Fifty thousand for the 
Red Cross!” 



4 


ALL FOR THE CAUSE 


PROPERTIES. 

Flat desk or table with box, pen and ink and record book. 
Two chairs. One small table. Two long tables. Various 
and numerous articles of jewelry and of silverware, con¬ 
spicuous among them a wedding ring, a watch, a punch 
bowl, candelabrum, tea pot. Clock for off stage. Large 
covered tray containing tea service, sandwiches and marma¬ 
lade for Maggie. Locket and chain for Maggie. Wrist 
watch and silver mesh bag for Lucy. Fraternity pin for 
Ray. Vanity box for Elsa. Bracelet for Julie. Ring for 
Olive. Knitting bag with gay sweater, buckles, spoons and 
tray for Ethel. Large black shopping bag and old-fash¬ 
ioned bracelet for Miss Emery. Silver box with enclosed 
paper for Riette. Shopping bag (a counterpart of the one 
carried by Miss Emery), purse containing bills, revolver and 
long bar pin for Miss Rand. 


CHARACTERS AND COSTUMES. 

The five girls are typical, enthusiastic Americans with 
Olive more serious than the others. Ethel is haughty; 
Miss Emery, matter-of-fact; Riette, nervous in bearing; 
Miss Rand, charming and sophisticated; Maggie, bright 
and talkative. 

Olive— Gauze room apron; veil. 

Julie— Red Cross costume. 

Maggie-—B lack dress, white apron and cap. 

Elsa— Navy blue uniform-with Norfolk coat, blue trench 
cap. 

Lucy— Blue and white striped dress; large white apron 
with red cross upon it. 

Ray— Khaki motor suit. Puttees and cap. 

Ethel— Stylish street suit. Knitting bag. 

Miss Emery— Plain tailored suit and hat. Large black 
shopping bag. Middle-aged. 

Riette— Light summer gown. Speaks with slight accent. 
Miss Rand— Traveling suit and hat and fancy blouse. 
Large black shopping ba*g. 



ALL FOR THE CAUSE 


5 


Notice: The Publishers advise that the costumes for the 
Red Cross nurses and those in service wearing uniforms 
should have such variation as not to interfere in any way 
with the Government regulations regarding the wearing of 
uniforms. It is, of course, inferred that such costumes will 
be procured from a costumer who undoubtedly will be able 
to supply something that will answer the purpose and avoid 
any criticism. 


SCENE PLOT. 

Drop 


Door [- 


r Window 

^Small Table 


Desk 


Chair O 


Q Chair 



STAGE DIRECTIONS. 

R. means right of stage; C., center; R. C., right center; 
L., left; i E., first entrance; U. E., upper entrance; R. j E., 
right entrance up stage, etc.; up stage, away from foot¬ 
lights ; down stage, near footlights. The actor is supposed 
to be facing the audience. 











ALL FOR THE CAUSE 


Scene : Front room of an office building opening on 
street. Drop representing exterior of a building, zvhole 
length of stage. Space between drop and flat supposed to 
be street. Door C. at back. Windows R. and L. of C. Flat 
desk or table with box, pen, ink and record book at C. 
Chair on either side of desk. Long table down L. bearing 
various large articles of gold and silver, conspicuous among 
them a punch bowl, tea pot, candelabrum. Small table at 
R. U. E. Long table down R. bearing smaller pieces of 
silver and a large tray filled with jewelry of all kinds. A 
few rugs are scattered here and there. 

Stage is well illuminated since it is mid-day. At rise, dis¬ 
covered Olive seated at L. of desk, Julie at R. A clock 
off stage is striking twelve. 

Olive (as the last stroke dies away). Noon time at 
last! (Looks around.) A pretty busy morning, Julie, and 
hosts of beautiful things. Doesn’t such generosity make 
you glow with patriotic pride? 

Julie. It certainly does. Especially when the generosity 
is accompanied by a splendid self sacrifice. 

Olive. Service and sacrifice! We might call it the 
slogan of the present time. Dear me! Weren’t we a set 
of useless butterflies before the war awakened us? 

Julie. And when the war is over, my dear Olive, what 
will happen? Shall we remain in our present useful altru¬ 
istic frame of mind or go back to the butterfly existence? 

Olive. We shall have forgotten how to be butterflies— 
there’s your answer. 

Maggie appears at door with a large covered tray. 

Olive. Surely the memory of all the pain and terror 
will help us to scorn material things. 

Julie (rising hastily as she spies Maggie). Unless they 
are eatables. Don’t ask us to draw the line there. (Opens 
door.) Well, Maggie, that big tray looks encouraging. 

6 




ALL FOR THE CAUSE 


7 


Maggie (as she places the tray on the desk.) Sure and 
you’d better wait until I be takin’ off the tray cloth. 

Olive. Oh, well, we can’t be expecting too much since 
we asked only for tea, sandwiches and marmalade. 

Julie (standing at R. of desk as Maggie removes cloth). 
Gracious—what a shock! I thought I saw white bread, 
real white bread, such as I’ve read about and dreamed of. 

Maggie. Faith, and you’ll be seein’ it only in dreams, 
Miss Julie. 

Olive (sighing as she peeps in the sugar howl.) Just 
two lumps of sugar ! 

Maggie. And you’re lucky to be drawin’ that many, I’ll 
be tellin’ you. (Smilingly.) Sure, and what would either 
of you two sweet ladies be needin’ of sugar? 

Julie (seating herself). True to your blarney stone, 
aren’t you, Maggie? (With a sweeping gesture.) Look 
around and give an estimate of our morning’s work. 

Maggie. Some donation party, ain’t it? Goin’ to melt 
this into bullets— 

Julie. To use against the Kaiser? Exactly. 

Olive. And some of the really beautiful things we 
intend to auction off. Anything you’d particularly like to 
bid on, Maggie? 

Maggie. Sure and it’s that punch bowl. (Points.) If 
there’s anything I’m really truly needin’ at this time it’s a 
punch bowl. 

Julie. And such a punch bowl! According to its erst¬ 
while owner it was the original receptacle of the cheering 
beverage bestowed upon Lafayette when he made his return 
trip. I trust I’ve quoted correctly. 

Maggie. Well, I’m thinkin’ I’d be usin’ it for good stiff 
broth to be handed out to hungry soldier boys. 

Julie. Bravo, Maggie— so should I. 

Maggie. And I’ll be leavin’ — this —with you before I 
go. (Takes locket and chain from neck.) It ain’t fine— 
but it’s my best. (Gives it to Olive.) 

Olive (protestingly). Maggie— 


8 


ALL FOR THE CAUSE 


Maggie. And my best is too little when I think of all 
that those boys—over there—are doin’ for me. ( Goes 
toward door.) 

Olive ( rising and slipping her arm through Maggie’s). 
That’s the real spirit, Maggie, the American spirit—the 
spirit that’s going to win the war. ( Lays locket on table at 
R -) 

Maggie ( opening the door and turning). Here’s hopin’! 
{Exit.) 

Olive. Now, wasn’t that splendid? Her best —and it 
meant a real pang to give it up. 

Julie. Don’t talk about pangs—for I’m having a large 
and elegant one of my own, all from hunger. Hurry up, 
Olive, and let’s eat. Someone will be coming in before we 
finish this sumptuous repast. (Olive hastily seats herself 
and pours the tea, while Julie casts a critical eye over 
everything). 'Meatless—wheatless—sweetless—every old 
day rolled into one! 

Olive {handing her tea). Then drink to Kaiserless day. 

Julie. With the greatest joy in the world. {They clink 
cups and drink the toast.) Now spill a few drops to our¬ 
selves—The Frivolous Five ! 

Olive {setting down her cup). I don’t like the appella¬ 
tion. Frivolous doesn’t describe us—any more. 

Julie. But it did once upon a time, you must acknowl¬ 
edge. 

Olive. Originating when we wore short dresses and pig 
tails, it naturally didn’t provide for any mental growth. 

Julie. Why provide for what wasn’t? As debutantes 
in a whirl of dinners, dances and matinees, did we deserve 
any other title? 

Olive. But we do nozv —that’s my point. 

Julie. Then why not call ourselves the Financial Fiends? 

Olive. I object. There’s no intimation in such a title 
that our financial fiendishness is in behalf of the Red Cross. 
Pledging ourselves to raise fifty thousand dollars deserves 
a more illuminating term. 


ALL FOR THE CAUSE 


9 


Julie. Then—how’s this? The Four Zero-ed Five? 

Olive {shuddering). Sounds abnormal—like a side show 
monstrosity. 

Julie. Well, we are abnormal—in our zeal for the cause. 

Olive {sighing.) And, so far, have raised only half the 
sum. That doesn’t look like abnormal zeal. 

Julie. It isn’t a question of zeal—but of dollars. The 
multi-millionaire hasn’t come our way—that’s all. When 
he does— {pauses). 

Olive. Why confine your endeavors to the masculine 
gender? 

Julie. Because a man is much easier to manage than a 
woman. 

Olive. Just the same, I look to some woman for our 
ultimate salvation. 

Julie. To whom, for example? 

Olive. Miss Emery. 

Julie. The eccentric Miss Emery? 

Olive. Also—the rich Miss Emery. 

Julie. But she has already given to the Red Cross. 

Olive. Only small sums. 

Julie. What reason have you to suppose that we could 
extract a large sum? 

Olive. Well—if we could really interest her— 

Julie. She’s probably interested if she has subscribed. 

Olive. But there are degrees of interest. She has un¬ 
doubtedly felt the abstract interest—the public duty side of it. 
What we want to awaken is the personal realization of a 
share in the national work. 

Julie. Beautifully said, Olive—but how is the awak¬ 
ening stunt to be managed ? 

Olive. That’s for us to find out. She must be made 
to feel the thrill, the enthusiasm, the exaltation—oh, you 
know how it is! 

Julie. Don’t I, though? Liberty Bond to right of me; 
Thrift Stamps to left of me; Red Cross in front of me; 
anc j—twenty-five dollars allowance! 

Olive. But you are giving yourself — 


10 


ALL FOR THE CAUSE 


Julie. We’re all doing that. Here you are in charge 
of the gauze rooms; Lucy helping the Refreshment Corps; 
Ray in the motor service; Elsa, a full-fledged telephone 
girl— 

Olive. And you with a nurse’s certificate— 

Julie. Ready for France! 

Olive. You’ve seen Elsa? 

Julie. In uniform? Yes. I wish I might sail with her. 

Olive. You’ll go soon enough, Julie. Let’s stay to¬ 
gether as long as we can. 

Julie. It will mean a parting of the ways, won’t it? 
After all these years together, the five will—scatter. 

Olive. I suppose it had to come—sometime—but it’s 
hard just the same. 

Julie. Well, let’s be thankful that no man has been 
the cause of the dissolution. That would have been a 
tragedy. (As they finish the lunch.) Through? Then I’ll 
remove this tray before any customers descend upon us. 
(Carries tray to table R. U. E.) 

Olive (rising and going to window L. of C.). It’s time 
the girls were here. They are all free at noon for a few 
moments and promised to drop in upon us. (As Elsa 
passes outside window at L. and waves.) There’s Elsa 
now. 

Elsa enters and Olive hurries to her. 

Olive. You good-looking thing! I’ll wager that you’ve 
been the center of attraction all morning. 

Elsa (laughing as they stroll to C.). Haven’t I, though? 
The civilians have looked upon me with approval; the 
small boys have admiringly trailed me; and every Sammy 
—bless his heart—has saluted me. 

Julie (coming to them from R.). Why shouldn’t he? 
Aren’t you making it possible for him to have his “Hellos” 
said to him in good old American by a real American 
“Hello” girl? 

Elsa. I hope so. It’s going to be a wonderful experi¬ 
ence, girls, and I begin to feel worth while for the first 
time in my life. 


ALL FOR THE CAUSE 


11 


Julie. You aren’t the only one affected with the germ 
of efficiency. Look at me—rattle-pated me—soon to be 
with you “somewhere in France.” 

Elsa. We shall meet—I’m sure of it. ( Grasps a hand 
of each.) We’re breaking away—the five of us—aren’t 
we? 

Olive. Not breaking away—only apart — and, just for 
for a time. 

Enter Lucy. 

Lucy (at door). Your attitude might signify that you 
were sighing “When shall we three meet again?” Am I 
right ? 

Elsa. Of course you’re right, Lucy. Any old intel¬ 
ligence could have guessed that. 

Lucy ( coming to Elsa). Aren’t you the duckiest thing? 
(Turns her around slowly.) 

Elsa. It strikes me that you look pretty ducky your¬ 
self. 

Julie. As fresh as the morning star! 

Lucy. The morning star comparison suits me all right. 
We fed six hundred recruits this morning and I was up 
at daybreak. 

Julie (pulling out chair R. of desk and standing behind 
it). Then rest while you tell us about it. 

Lucy (as she seats herself). There isn’t much to tell, 
for it was the same pathetic spectacle of six hundred nice 
American boys going off to—oh so many things! I watered 
their coffee with tear drops— 

Olive (sitting L. of desk). And doubtless won their 
hearts. 

Lucy. Anybody with a coffee pot could have done 
that. 

Elsa (crossing back of Olive and perching on desk). 
Are you on duty again? 

Lucy. Decidedly. (Looks at wrist watch). I can spare 
you just a few moments. I can’t tell you what soldiers 
we are to feed—or where they are from—or where they 


12 


ALL FOR THE CAUSE 


are going—but I can tell you that we intend to give them 
sandwiches, coffee, and—pies ! 

Elsa. Pies! Shades of conservation ! 

Lucy. And we’ll also hand out cigarettes, chocolate 
and stamped postal cards. ( Enthusiastically .) Oh, it’s 
wonderful— wonderful —and I wouldn’t give up the work 
for anything in the world! 

{Motor horn sounds off stage.) 

Elsa. There’s Ray. 

As Ray enters a moment after. 

Elsa. Blowing your own horn as usual. 

Ray (as she joins the group). That’s*a pretty return 
for all the tooting I’ve wasted on you this morning. 
(Stands behind Olive.) If I hadn’t shrieked my siren 
whenever I passed you, there would have been a decided 
falling-off in your retinue of admirers. 

Lucy. Had any passengers today? 

Ray. Only a government investigator. 

Olive. Investigator of what? 

Ray. How should I know—or care? He wasn’t young 
enough or observing enough to investigate— me. 

Julie. Dear me! How thoughtless of the government! 

Ray. Then I waited a half hour in the broiling sun for 
a thrift stamp speaker to finish her exhortation. I was so 
warm and tired I felt like running her off the embankment 
but had to take it out in nearly scaring her into nervous 
prostration. 

Olive. You’re a wretch. 

Ray. Granted. {Moves to table at L.) Business has 
been looking up, hasn’t it? {Takes punch bowl.) 

Olive. The Randolphs gave it—and it’s a real heir¬ 
loom. We hope to auction it off for a big sum. 

Ray. Pretty work. {Takes candelabrum.) What about 
this? 

Julie. The original searchlight used by Diogenes in 
his search for an honest man. 







ALL FOR THE CAUSE 


13 


Ray. There ain’t no such animal. 

Julie. Naturally. So the searchlight has fallen into 
disuse. 

Ray. Hence the donation. ( Examines the tea pot.) 

Julie. That tea pot was used by Mrs. Noah at her 
first informal “at home.” Quite archaic. 

Olive. Stop your nonsense, Julie. These things really 
have pretty histories, Ray, if you care to hear them. 

Julie. Not nearly such pretty histories as the articles 
here. (Rises, goes to table at R. and holds up gold ring.) 
This is what a poor little laundress brought us—her wed¬ 
ding ring—and all she had to give. 

Ray (impulsively). Oh, Julie, you shouldn’t have per¬ 
mitted it. (Crosses to R. with Olive.) 

Julie. Oh, yes, I should. A sacrifice like this means 
far more to the nation than a conglomerate mass such, 
as— that. (Points to table at R.) 

(Elsa and Lucy stand at farther end of table at R.) 

Olive. Show the watch, Julie. 

Julie (holding up old-fashioned silver zvatch). From 
the janitor. It was his father’s—and his grandfather’s— 
and it meant—everything—to him. 

Ray. Oh, don't, Julie. I never before realized that 
gifts like these could mean—heartache. 

Julie. Before everything is over we’ll all know what 
it means to give until it hurts. (Unconsciously the girls 
have drazvn closer together until they stand almost in a 
semicircle, with Lucy at one end and Ray at the other.) 

Lucy (after removing the contents of her silver mesh 
bag). I wonder why I didn’t think to leave—this—before. 
(Lays bag on table.) 

Ray (sighing). Dick’s fraternity pin will have to go. 
It’s my dearest possession—but he’ll understand. (Re¬ 
moves pin and lays it on table.) 

Elsa (taking small box from her pocket). Whoever 
heard of a telephone girl with a vanity box—and a jew¬ 
eled one at that! (Tosses box from her.) 


14 


ALL FOR THE CAUSE 


Julie. Or a nurse with a bracelet. ( Takes bracelet 
from her arm and throws it on table.) 

Olive ( slipping off a ring). Here is a ring—and it has 
so many memories that it ought to count. ( Lays it on 
table.) 

Lucy. Aren’t we serious—and solemn—about it all! 
It’s just as if we have offered up our little sacrifices on 
some particular shrine— 

Elsa. Or funeral pyre. 

Olive. Maybe we have. There’s such a thing as the 
death of self, you know. 

Ray. And we’ve proved the regeneration of The Friv¬ 
olous Five! 

Julie. We’re no longer The Frivolous Five. 

Lucy. Then let us be The Forever Five! For the 
friendship will be forever, no matter how far apart our 
paths may lie. 

Olive. The Forever Five! So be it. ( Silently they 
clasp hands.) 

Julie (fervently) . And may Fortune in the guise of 
twenty-five thousand dollars smile upon them! (They raise 
their clasped hands.) 

Enter Ethel. 

Ethel (at door). Dear me! How ridiculous you all 
look! (They turn.) You remind me of a fancy dress party. 

Julie (sauntering to C.). Oh, do we? Now, Ethel, I 
should say that you were the one in fancy dress. A civilian 
suit is such a distinction these days. (Olive crosses to L.) 

Ethel (haughtily). Indeed! I am of the opinion that 
one may serve her country quietly without adopting a con¬ 
spicuous costume. (Comes to C.) 

Olive (soothingly). Isn’t it splendid to think that the 
country can be saved in so many ways? 

Ethel. If I choose to sew—or to knit— 

Ray (who has joined Julie at C.). So knitting is your 
particular stunt. (Pulls bright colored sweater from knit¬ 
ting bag which Ethel carries.) Oh, how pretty! Won’t 
your soldier be the observed of all observers? 






ALL FOR THE CAUSE 


15 


Ethel (pushing sweater into bag). Is everybody in 
charge here—or nobody? 

Julie. Olive and I have the honor and the responsibility 
of housing the valuables. 

Ray. The rest of us are visitors. 

Elsa. And two are saying goodbye this very minute. 

Lucy. I’m on duty, girls. 

Elsa. And I must report at headquarters. So we’ll see 
you later. (As Elsa and Lucy hurry to door). Goodbye— 
and don’t make way with the valuables. (Exeunt.) 

Olive. Have you something to deposit, Ethel? 

Ethel. Naturally, or I shouldn’t have trespassed upon 
this social gathering. 

Olive (seating herself L. of desk and taking up pen). 
How ridiculous you are. The girls simply happened in at 
this particular time—nothing pre-arranged about it. Such 
an arrangement would hardly be the proper thing when we 
are here on business. 

Ethel. Just what I was thinking. (With curiosity.) 
What are you doing? 

Olive. Merely entering your name—and gift. Julie and 
I thought it would be interesting to keep a record. What is 
your contribution? 

Ethel. First, some buckles. (Takes them from her 
knitting bag). My grandmother wore them when she was 
presented at court. So many of the stones are gone and 
they are so out of style that we are reconciled to parting 
with them. 

Olive (nodding toward R.). Will you lay them with the 
smaller articles, Julie? 

Julie (whispering as she passes Ray). Paste! (Places 
the buckles on table dozvn R.) 

Ethel (taking case from bag). And here are some 
spoons which the Czar presented my great-grandfather 
when he was ambassador to Russia. They are too heavy 
to use so we’re glad to get rid of them. (Hands them to 
Olive.) 


16 


ALL FOR THE CAUSE 


Ray ( taking the case). I’ll take them. ( Goes to table at 
R., takes the spoons from case and lays them on table, whis¬ 
pering to Julie.) Pewter! 

Olive ( after writing). Anything else? 

Ethel ( handing her a zvrapped package which she has 
carried under her arm). Just a tray—an old thing which 
we never use and won’t miss a bit. I don’t think it is solid 
silver but it will do to swell the list. 

Olive ( unwrapping it and rising). Suppose we place it 
with the larger articles. ( Goes to table at L.) 

Ethel ( following her). Oh, what really lovely things! 
This punch bowl— 

Olive. Isn’t it beautiful ? 

Ethel. And this (as she touches different articles ), and 
this —why they are all treasures. How could people give 
them up? 

Olive (quietly). Any great cause demands an element 
of sacrifice, don’t you think? Our country comes first these 
days, and giving her our best, our dearest possessions is very 
little when we think that the boys—over there—are giving 
their lives. 

Ethel (after a pause). I haven’t thought of it quite 
that way. 

Ray. I’m starting, Ethel, and my car is at the corner. 
Can’t I give you a lift? 

Ethel. Thank you, yes—for I’m in a dreadful hurry. 

Miss Emery passes windozv at R. 

Julie (excitedly). Girls! Miss Emery! And she is com¬ 
ing— here! 

Ethel. And Olive—may I come back later on? I have 
some things of my own— real things that I love dearly—and 
I want to give them — to the cause. (Olive impulsively 
grasps her hand.) 

Ray (throwing an arm around her shoulder). Bully for 
you, Ethel! That’s the best kind of ammunition for Ameri¬ 
can guns. 





ALL FOR THE CAUSE 


17 


As they reach the door Miss Emery enters. She carries 
large black leather shopping bag. 

Ray. We’re making way for you, Miss Emery. 

Miss Emery. To the extent that you’re leaving me the 
whole room. (As Olive and Julie come forward.) Isn’t 
business thriving? ( Exeunt Ray and Ethel.) 

Olive. Oh, beautifully. Look around and judge for 
yourself. You just happen to be a come-between—that’s 
all. 

Miss Emery. This really looks quite like a private dis¬ 
play ; and it’s easy to believe that the two in charge are 
responsible for the—atmosphere, shall I call it? 

Julie. That is the prettiest compliment we have had 
today. 

Olive. Maybe our costumes help. 

Miss Emery. They do. 

Julie. Local color always does. 

Miss Emery (drawing chair from R. of desk). I’m a bit 
tired from my shopping. Do you mind if I rest a moment 
before handing over my contribution? (Seats herself and 
places bag on desk.) 

Olive. Please do. It’s such fun to have these little chats 
with our customers. (Sits L. of desk.) 

Julie (standing back of Olive). And to display our 
wares. 

Miss Emery. How you children have grown up. I’ve 
been away so much that I’ve lost track of your ages. 

Julie. That’s just as well I’m thinking. I take it for 
granted that in growing up we have used the customary 
number of years. 

Olive. And had the customary amount of fun. 

Miss Emery. Suppose you tell me something of your¬ 
selves. 

Olive. Are you sure it won’t bore you? 

Miss Emery. Perfectly sure. You see, I profess to be 
a good citizen, and a good citizen should be fully aware of 
all progress. 

Julie (laughing). Meaning— us? 


18 


ALL FOR THE CAUSE 


Miss Emery. Meaning—you. I’m sure you both stand 
for the best kind of progress. 

Olive. I hope we do—and I’m sure we try. 

Julie. There are five of us, Miss Emery, who have been 
together since childhood—just the best and truest friends— 
and you can’t hear about one of us without having the other 
four thrust upon you. 

Miss Emery (suddenly). The little Phipps girl whom 
I met just now—is she one of the number? 

Julie. Ray? Of course. She is doing motor service 
now. Then Elsa Scott has enlisted in the Signal Corps; 
Lucy Miller is one of the Refreshment Corps; Olive is su¬ 
pervising the gauze rooms—and I have my certificate as a 
nurse. 

Miss Emery. What a splendid and useful five you are. 
(Sighs.) Youth is so full of energy, of enthusiasm and of 
achievement. I envy you your interest. 

Olive. But those are individual interests—not the big 
interest on which our combined energies have centered. 

Miss Emery. What is the big interest? 

Olive. The Red Cross. 

Miss Emery. But that is everybody’s interest, isn’t it, 
my dear? Or rather—our national interest? 

Olive. Still, there are so many degrees of interest. 
There is the interest we all feel—abstractly—in a great 
movement which means the safety and comfort of our sol¬ 
diers ; and there is the interest which grips us, which is part 
of us, which, burns and thrills and overshadows everything 
else. 

Julie (after a pause). And that’s our interest. As a 
practical demonstration of it we have pledged ourselves to 
raise fifty thousand dollars for the cause. 

Miss Emery. Isn’t that rather a mammoth undertaking 
for five girls? 

Olive. Already half has been subscribed. 

Miss Emery. Plalf? That’s very encouraging. 

Julie. But it doesn’t put us over the top. Another 
twenty-five thousand would do that very thing. 




ALL FOR THE CAUSE 


19 


Miss Emery. Patience is a necessary attribute of any 
subscription campaign. 

Julie. And that is just what I haven't. Elsa is leav¬ 
ing this week; I may be called at any moment; and it’s hard 
luck not to be one of those to hand over that fifty thousand 
dollar check. 

Miss Emery. Well, you have my good wishes. 

Julie (gloomily). Would that every good wish could 
blossom into a dollar! 

Miss Emery (opening her hag). It’s quite time for me 
to be handing over my contribution. (Takes out an old- 
fashioned bracelet of heavy gold.) 

Olive. Oh, how lovely! (Writes in hook on desk.) 

Julie. Just the sort of an heirloom to have a history. 

Miss Emery. But it hasn’t. 

Julie. Then a mystery. 

Miss Emery. Wrong again. Never in my placid and 
commonplace life have I been associated with a mystery. 

Olive. Nobody could associate you with a mystery, 
Miss Emery. 

Miss Emery. And yet I’ve always wanted that very 
thing. 

Olive. Really ? 

Miss Emery. Really. There— my deadly secret is out. 
The unusual fascinates me; I revel in a good detective story, 
and to be a secret service agent would place me on the 
heights of happiness. 

Julie. How perfectly ripping of you! I wish I could 
find you a real double-dyed mystery right here. 

Miss Emery. I wish you could. For once in my life 
I should like to be the leading lady. 

Enter Riette. 

Julie. Here comes a customer. 

Olive (rising and crossing to R. in front of desk). I’ll 
place your bracelet on this table, Miss Emery. Wait just 
a moment until I arrange the articles—then, let me tell you 
the incidents connected with some of them. (Busies her- 


20 


ALL FOR THE CAUSE 


self at table.) Now everything is ship-shape. (Miss Em¬ 
ery rises and, joins Olive.) 

Julie ( meeting Riette). Em one of those in charge. 
Can I help you? 

Riette ( nervously, as she takes from her bag a curiously 
chased silver box). I have—this—for you. 

Julie ( taking it). What a beautiful thing! It must have 
all kinds of associations. 

Riette. It has. It is very old, very precious and very 
dear to the heart of the owner. That is why it should be 
given to this cause. 

Julie. How splendid of you to think of it that way. 

(Seats herself L. of desk and takes pen.) May I have your 
name? We are keeping a record of all gifts. 

Riette ( after a momenfs hesitation). Riette de Cartier. 

Julie (as she writes). How pretty—and how French! 

Riette. I’m from Belgium. 

Julie (impulsively stretching out her hand). Oh! 

Riette (as she takes it). Do you wonder that I want to 
do my little part for those who are helping me and mine— 
oh so beautifully and generously? 

Julie. Why shouldn’t we help each other? We are fight¬ 
ing for the same thing. (Turns to book again.) What is 
your address? 

Riette. Hotel Lorton. 

Julie. Just at the corner. 

Riette. Yes. 

Julie. In connection with the record, we note anything 
of interest concerning a contribution. (Holds up box.) 
Won’t you tell me something about this? 

In the meantime Miss Rand appears at zvindow L. and 
stands watching, unperceived. 

Riette. May I tell it to you—later on? 

Julie. Later on? 

Riette; I can’t—now—and I can’t tell you why. Do 
you mind? 

Julie (puzzled). Why, of course I don’t mind—but— 

Riette (abruptly). How late do you stay here? 



ALL FOR THE CAUSE 


21 


Julie. Until six. 

Riette. Then at that time I shall be back—and—will 
you think it strange if I ask you a favor? 

Julie. Why should I think it strange? 

Riette. Because it is a strange favor to ask. ( Leans 
forzvard and whispers .) Promise not to let that box out 
of your possession. 

Julie. Out of my possession? 

Riette. Out of this room. 

Julie. It couldn’t be taken from this room. 

Riette. Could it be—stolen? 

Julie. With two people on guard? Hardly. 

Riette (in evident agitation) . Then you promise that it 
will be safe— safe? 

Julie. Quite safe. 

Riette. Oh, I’m so grateful—I can’t tell you how grate¬ 
ful—and I beg you to trust me and to believe that I’m ask¬ 
ing a true and honorable thing of you. 

Julie. Of course I trust you and believe in you. 

Miss Rand in the meantime has moved to window at R. 
As Riette turns to leave the room, she disappears . 

Riette. Then I’ll be back at six—and I promise you a 
story which is at the same time an explanation. Thank 
you so much. Goodbye. 

Julie (rising and taking her outstretched hand). Then — 
till six. (Exit Riette. Julie crosses to Olive and Miss 
Emery.) Did you ever see anything more fascinating than 
this box? Beautiful chasing—darling little scrolls—all kinds 
of crowns and symbols. 

Olive (as they examine it). It is lovely. So foreign 
and so different from anything we have. Put it over on 
the other table, Julie, where it will have a proper setting. 
(Julie crosses to table at L., where she carefully places the 
box.) Now look at this, Miss Emery—isn’t it odd? (Takes 
up some article.) 

Enter Miss Rand, carrying a large black shopping bag 
similar to that carried by Miss Emery. 


22 


ALL FOR THE CAUSE 


Miss Rand ( coming to C.-, where Julie meets her). I’m 
a stranger in your city—between trains—and in passing I 
felt that I’d like to help out a bit if I may. 

Julie {laughing). I wish that every stranger and every 
passer-by felt the same way. 

Miss Rand {taking a long bar pin from the front of her 
blouse). This pin will count something. {Hands it to 
Julie.) 

Julie {as she takes it). Indeed it will. {Seats herself 
L. of desk and takes pen.) Your name, please. 

Miss Rand {quickly). Why my name? 

Julie. For our record. 

Miss Rand. Oh, I see. Inez Rand. 

Julie. Address? 

Miss Rand {smiling). Too transient to merit chron¬ 
icling. {Glances around.) May I look around? 

Julie {rising). Oh, certainly. We have some interesting 
donations and— 

Maggie appears at door. 

Maggie {calling). Miss Julie! Telephone! {Exit.) 

Julie {to Miss Rand). Will you pardon me just a mo¬ 
ment? We are obliged to receive our telephone messages 
in the lunch room next door. {Turns.) Olive, won’t you 
show Miss Rand our treasures? 

Olive. Miss Emery and I are on our way to this par¬ 
ticular table. {They cross.) 

Julie {handing pin to Olive). Miss Rand’s contribution. 
I’ll hurry. {Exit.) 

Miss Rand {examining one article after another). These 
are all really beautiful—and valuable. I’m wondering if 
you intend to sell anything if the opportunity occurs. 

Olive {eagerly). We are anxious to do so. Definite 
sums are always acceptable and we wish to leave no stone 
unturned. 

Miss Rand. Quite so. {Takes the silver box in her 
hand.) What an odd and exquisite thing! {Stands a little 
in advance of Miss Emery and Olive and opens box.) 




ALL FOR THE CAUSE 


23 


Olive. Isn’t it ? That was brought in just a moment ago 
by such a pretty girl. She was very foreign in appearance, 
don’t you think, Miss Emery? 

Miss Emery. Very—and she seemed quite agitated over 
parting with the box. 

(Miss Rand, in the meantime, in full sight of the audi¬ 
ence, has discovered that the box contains a paper.) 

Miss Rand (impulsively). Will you sell this to me? 

Olive. Why not? (Laughingly .) If you’ll make it worth 
our while. 

Miss Rand. I’ll give you fifty dollars for it. 

Olive. Oh, that’s splendid! 

Miss Rand. For it’s just what I’ve been looking for— 
and hoping to find. It will make an unusual wedding gift, 
I fancy. 

Olive. And it will be a fortunate bride who receives it. 
(Goes to desk.) I’ll make a record of the sale. (Seats her¬ 
self L. of desk, takes bag from desk and hangs it over back 
of chair.) 

Miss Rand. I have the exact amount here. (Takes 
purse from bag and sets her bag on desk.) May I just slip 
the box in my bag without wrapping? 

Olive (without raising her head). Certainly. (Miss 
Rand drops her box in bag, counts out money for Olive.) 

Miss Rand (handing money to Olive). There—and 
thank you. (Drops purse in bag and closes it.) 

Olive. Thank you instead. (Rises.) Now let me show 
you our interesting punch bowl and tell you its history. 

Miss Rand (following Olive to table at L.). Oh, I’d 
love to hear it. 

(Miss Emery in the meantime has wandered to table at 
R. and is idly examining the various articles.) 

Miss Emery (turning). Well, Miss Dunlap, I’ve just 
about exhausted your stock in trade—so I’ll be off. 

Olive (turning). I’ve so enjoyed this little visit, Miss 
Emery, and I’m coming to see you if I may. 

Miss Emery. Do. 



24 


ALL FOR THE CAUSE 


Miss Rand. Oh, have you noticed the little inscription 
’way down here on the base? (Julie and Miss Rand bend 
over the bozvl. Miss Emery catches up Miss Rand's bag 
on the desk and passes out the door.) 

Julie. What’s the date? Seventeen — is it eighty-two? 

Miss Rand. Too faint to decipher. ( Glances at her 
zvrist zvatch.) I’ve just about time for my train, so I’ll be 
forced to hurry off. 

Olive. I’m sorry for that. ( Laughingly .) For you 
might have fancied something else. 

Miss Rand. Not this afternoon. ( Looks for bag, sees 
it on back of chair, picks it up and hangs it over arm.) 
Goodbye—and good luck. (Exit.) 

Enter Julie after a few moments. 

Julie (at C.). I saw our strange friend departing in a 
taxi. Wasn’t it generous of her to pay us a visit? 

Olive. The half hasn’t been told you, my dear. She also 
paid— these. (Waves bills.) 

Julie. For what? 

Olive. For the little silver box. 

Julie (rushing wildly to L.). What? 

Olive. The little silver box. Good gracious, Julie, 
what’s the matter? 

Julie. You didn’t sell it? 

Olive. Of course I did. 

Julie. And—she— took —it—with—her ? 

Olive. After she had paid for it? Rather. (Places bills 
in box.) 

Julie. Oh, you’ve done a perfectly dreadful thing! 

Olive (going to her). What do you mean? 

Julie. I promised the Belgian girl not to let it out of 
my possession. 

Olive. But I didn’t know — you should have told me — 

Julie. Of course I should. It’s all my fault — my fault 
—and— 

Olive. Why did she ask you to make such a promise? 

Julie. She said she would be back — later — to explain. 





ALL FOR THE CAUSE 


25 


{Excitedly.) I must find the one who bought it—I must 
find her! 

Olive. . That is quite impossible. She was on her way 
to the train—you have no chance of locating her. 

Julie. Oh, what shall I do— what shall I do? 

Olive. There’s but one thing for you to do. Telephone 
—explain—and have her explain. 


Julie 
careless. 
Olive. 
Julie. 
Olive. 
Julie. 
happened. 
Olive. 

cious—to me 
Cartier. 

Julie. 
Olive. 
Julie. 
Olive. 
Julie. 
Olive. 


It is so humiliating to explain when I’ve been so 

But isn’t it what you ought to do? 

Of course it is. 

I’m sorry—so sorry— 

But you were responsible in no way for what 

I couldn't be. Julie, it all sounds very—suspi- 
(Bends over book and reads.) Riette de 


You think— 

That the matter has an international significance. 
That seems—impossible— here. 

Nothing is strange—or impossible—in war times. 
You mean that she is a spy? 

I’m simply surmising. But in any case— 
Julie {eagerly). Yes? 

Olive. We’re likely to have what Miss Emery always 
wished for—an adventure and a bit of a mystery. 

Riette passes window at L. 

Julie. Look—there she is! 

Enter Riette. 


Riette {hurrying to C.). The little silver box, madem¬ 
oiselle—you remember that I brought it a little while ago? 
Julie {meeting her). Yes—yes—but— 

Riette. May I have it just for a moment? 

Julie. I’m sorry—but— 

Riette. You must think me very strange and very 
changeable—and doubtless you would like to know just why 
I asked you to promise the safety of my box. 



26 


ALL FOR THE CAUSE 


Julie. Wait—please. 

Riette ( checking her). You wait—until I give the ex¬ 
planation of my guilty air. The box is an heirloom and 
very foolishly I did not ask my father’s permission to pre¬ 
sent it to the Red Cross. On my way here this afternoon 
I began to wonder if he would approve. That’s why I was 
so nervous, why I asked you to hold it and why I promised 
you a story. For I hoped to gain his consent and planned 
that he himself should tell you the historic facts as I could 
never do. But here I am again—alone—and may I have the 
box just for a moment? After that, it’s yours for keeps. 

Julie. I’m sorry—so sorry—but the box is gone. 

Riette. Gone ? 

Julie. Yes. 

Riette ( falteringly). Please tell me that what you said 
is a mistake. 

Julie ( taking her hands). Oh, I wish it were a mistake! 

Riette. But you promised— 

Julie. And I didn’t intentionally break my promise. 

Olive. Let me explain, Miss de Cartier, for I am the 
real offender. Before Julie could tell me of the arrange¬ 
ment you two had made, she was called to the telephone 
in the lunch room near by. While she was gone this stran¬ 
ger entered, made her contribution, admired the box ex¬ 
travagantly and asked if she might purchase it. I very 
gladly consented—and— 

Riette ( pointing to hook). But her address—isn’t it 
possible to trace her? 

Olive. She gave no address and left immediately to 
catch a train. 

Riette. Then our last hope is gone—and it is just as 
I feared. 

Olive. And what did you fear? 

Riette. That the purchase was made for —German in¬ 
terests. 

Julie (in horror). A spy? 

Riette. A spy. For the box contained what was of in¬ 
estimable benefit to my country. 





ALL FOR THE CAUSE 


27 


Olive. Are you sure of this? 

Riette. Quite sure. 

Julie. Then why did you leave the box— here? 

Riette. I did not know of the papers hidden there—• 
of the secret partition. My father told me—too late. 

Olive. Don’t you think it would help matters if you 
explained ? 

Riette. Nothing will help matters—now. I’ve betrayed 
the trust of Belgium. 

Julie. Don’t say that when I am to blame—when— 

Riette. No, mademoiselle. The fault lies with me for 
I should have foreseen this very thing; I should have guessed 
that the box would be chosen for a hiding place; I should 
have had all judgment, all stratagem, all courage—for Bel¬ 
gium. 

Olive. How could you have foreseen it? 

Riette. Mademoiselle, we Belgian daughters who have 
lived through the bitterness of death, who have seen a dev¬ 
astated land and a tortured people have a keener vision 
given us, have learned the lesson that in work for Belgium 
—there must be no failure. 

Julie. But why should such valuable information be 
hidden in this box? 

Riette {abruptly) . May I tell you something of myself? 

Olive. Please do. ( Points to chair at R.) You must 
rest. ( Sits L. of desk.) 

Riette ( seating herself). You are kind. (Pauses.) My 
father is a Belgian patriot, a Belgian diplomat; his country 
is his very life and into no truer hands can any communi¬ 
cation of importance find its way. We live—the two of us 
—at the hotel which I have mentioned; and today—un¬ 
known to me—my father received a very valuable docu¬ 
ment. (Pauses.) 

Olive. Go on. 

Riette. This document contained facts concerning Bel¬ 
gium which Germany has strictly guarded from the public; 
statistics which show the needs of the country; truths which 



28 


ALL FOR THE CAUSE 


the enemy has tried to suppress; plans which reveal how 
these needs may be met. And oh if you could only realize 
the greatness of these extremities—if you could hear the 
real call of Belgium— 

Julie. Oh, we do hear the call —and we are doing our 
best to answer it. ( Stands back of Olive.) 

Riette. My father hid the paper in the box; he left 
the hotel, and a cruel fate chose this time for me to play 
my part. Germany’s network of spies is far reaching; evi¬ 
dently the existence of the paper was known and my father 
was suspected of holding it. I was undoubtedly followed— 
the spy was far more clever than I—and I, myself, failed 
Belgium. And when one fails Belgium she is broken indeed. 

Julie. Let’s not say that you’ve failed. 

Riette. But what can we do? 

Olive. There must be some way—there must. 

Julie {suddenly). The secret service! 

Riette. How can we trace her? 

Olive {excitedly) . I can give her exact description. I 
remember the very blouse she wore—her hat—her— 
{rises). 

Julie. Then I’ll telephone right away, for she must be 
at the station and— {hurries to door as —) 

Miss Emery enters. 

Miss Emery. What is the excitement? 

Julie. Oh, Miss Emery— Miss Emery! The very thing 
you wanted has happened! A spy—mystery—and I’m on 
my way to telephone! 

Miss Emery {catching her arm). Wait a moment. Why 
are you telephoning? 

Olive. It’s about the box — the little silver box. It con¬ 
tained a state document from Belgium. 

Riette {following Julie). Oh, we must not stop—we 
must not waste a moment! 

Miss Emery {detaining her). One moment, Miss de Car- 
tier. Before you leave us will you open my bag for me? 

Riette. I don’t understand. 




ALL FOR THE CAUSE 


29 


Miss Emery. Open my bag—merely that. 

Riette {taking it hesitatingly). But— why— 

Miss Emery {laughing). Don’t be frightened. It doesn’t 
contain dynamite. (Riette opens hag.) And if you look 
inside—very carefully now— (Riette obeys) —you will 
find— 

Riette {in a whisper). The box! 

Olive and Julie {coming closer). The box! 

Riette {dazed). Is it here—really here? Or am I 
dreaming? 

Miss Emery. You are not dreaming, my dear. Find 
your paper. 

Riette {as she draws out a folded envelope). Madame, 
it is a miracle. 

Miss Emery. Oh, no, it isn’t—merely an exchange of 
bags. 

Olive {at L.). Tell us what you mean, Miss Emery, 
and how—and when—and— 

• Julie {pushing Miss Emery into chair R. of desk). All 
about it! {Stands hack of her.) 

Miss Emery. Easily explained, my dear girls. The 
stranger carried a bag which was almost the duplicate of my 
own—and in some way or other the two bags changed po¬ 
sitions. For when I investigated I found the box—and 
knew at once that something was wrong. 

Julie. How did you know? 

Miss Emery. Because I immediately discovered a paste¬ 
board bottom and under this pasteboard a paper. 

Riette. Oh—it’s wonderful! 

Miss Emery. Naturally, in these days of storm and 
stress such an arrangement was not a natural one; so I came 
back immediately. 

Riette {falling on her knees before Miss Emery). You 
have made me the happiest girl in America, madame, and 
you have done a great service for Belgium. 

Miss Emery {to Julie). I told you how I longed for 
a little secret service work— 



30 


ALL FOR THE CAUSE 


Julie. And I wished we could find you a mystery right 
here, didn’t I ? 

Olive. How wonderfully it has all turned out! 

Riette {rising). And how grateful—how very grateful 
I am! 

Miss Emery {holding up hag). I wonder how many 
other secrets are hidden here. 

Olive. And I wonder just how that fascinating Miss 
Rand felt when she opened the other bag and found— 

Miss Emery. A ball of yarn, a package of dyspepsia 
tablets, a paper of pins—and car fare! 

Tulie. This affair must not end here. We’ll arrest that 
spy. 

Miss Emery. How? 

Julie. Put detectives on her track. 

Miss Emery {rising). Listen to me, Julie. The woman 
will return here just as soon as she discovers the change 
of bags. There is nothing suspicious in the fact that she 
has carried off by mistake another bag. She will naturally 
expect a return of the box to this place, and will hasten to 
recover what is of great value to her. 

Julie. Then what shall I do? 

Miss Emery. Telephone for two secret service men to 
guard this room. Station them at the corner, and if I’m 
not very much mistaken, Miss Rand will walk quietly and 
unconsciously into the trap and her arrest will be an easy 
matter. 

Julie. I’m off! {Exit.) 

Olive. You’re splendid, Miss Emery, simply splendid. 

Riette. Fate sent you to our rescue, dear lady, and it 
is a good omen for Belgium. The safety of this paper 
means that now there is a possibility of—of so many things 
—and a certainty of definite relief for my country. 

Miss Emery. Is there still the same need—the same suf¬ 
fering? 

Riette. Madame, I cannot tell you the half of it. {Sud¬ 
denly.) Read that. {Hands paper to her.) 




ALL FOR THE CAUSE 


31 


Clive ( drawing Riette to L.). Some way you have 
brought Belgium’s sorrow very near to us today. 

Riette. Dear mademoiselle, I can never bring it near 
enough. I can never really picture for you the utter deso¬ 
lation, the starving children, the pitiful condition of those 
who are too proud to seek the soup line. It is so tragically 
true to me; it is so heartrending in its terrible detail. Oh, 
mademoiselle, there is nothing I would not ask for Belgium! 

Olive ( impulsively ). Don’t think of all the sadness; 
plan rather for the future which will surely come. 

Riette. For that future we are all living, mademoiselle, 
since we know that the soul of Belgium is not dead; that 
faith and love and courage will surely lift us from the depths 
of suffering, of humiliation, of despair. 

Miss Emery ( who has been listening intently ). My dear, 
is this all true? 

Riette. Truef If you might only know all! 

Miss Emery. Oh, that such things should be! 

Riette. That is why I pray for the success of your 
wonderful Red Cross. Because it will save and help your 
brave men; because it will mean the downfall of the enemy; 
because it will preserve your country. ( Crosses and lays 
hand on Miss Emery’s arm.) Oh, madame, do all you can 

for the Red Cross. ~ _ 

Enter Miss Rand. 

Miss Rand (as Olive goes to meet her). I did a very 
stupid thing and have hurried back to make amends. In 
my haste I carried off a bag similar in appearance to my 
own. Has my own bag been returned? (Hands Miss Em¬ 
ery’s bag to Olive.) 

Olive (handing bag to Miss Emery). Yes, it has been 
returned. (Crosses to desk.) But I’ll refund the money to 
you, Miss Rand, as the owner does not care to part with 
the box. (Takes money from box.) 

Miss Rand (catching sight of Riette). The owner? I 
am the only owner of the box. 

Olive. Under ordinary circumstances, Miss Rand, that 
would be true, but these circumstances are—extraordinary. 



32 


ALL FOR THE CAUSE 


Miss Rand ( haughtily ). Please explain yourself. 

Olive. No further explanation is necessary, I think. 

Miss Rand {angrily). I paid for the box. It is mine. 

Olive {holding out money). I am returning the money. 

Miss Rand. It is the box that I desire. 

Riette {holding out the box). Do you wish the box— 
without the paper it contained? 

Miss Rand. Again, I do not understand. 

Riette. I think you do—but no matter. I repeat—do 
you wish the box—without the paper? 

Miss Rand. I’ll take the box—and also the paper. 
{Quickly extracts a small revolver from her coat pocket.) 

Riette ( calmly, as the revolver is leveled). Mademoi¬ 
selle, I am from Belgium and I am responsible for the safety 
of the paper. Shoot! (Miss Rand stands irresolute.) 

Enter Julie excitedly and stands with back against the 
door. 

Julie. Miss Rand, you are under arrest as a spy of the 
German government. 

(Miss Rand turns quickly, off her guard. Just as quickly 
Miss Emery and Riette seize her arm, and after a short 
struggle obtain the revolver.) 

Miss Rand. This is an intolerable and unwarrantable 
insult. 

Julie. Then prove it to the police court. 

Miss Rand. I refuse to move. 

Julie. Oh, no you don’t. There are two secret service 
men at the corner awaiting you. {Pauses.) Best make no 
disturbance. {Pauses again.) I am to signal them with my 
handkerchief— so. {Flourishes handkerchief.) 

Miss Rand {with a laugh as she takes the money). Then 
better luck for me next time. {To Julie.) Open the door. 
{As Julie opens the door, steps out and waves her hand¬ 
kerchief, she follows her and turns to R.) 

Julie {entering and coming to C.). Oh, hasn’t it been 
a perfectly splendid adventure? 





ALL FOR THE CAUSE 


33 


Riette. It has indeed. ( To all.) Do you mind if I give 
—this—to Miss Emery? It’s so little—after all she has 
done. ( Holds out box.) 

Olive. She is the one to have it—the only one. 

Riette ( eagerly to Miss Emery). Then—you’ll keep 
the box? 

Miss Emery. Of course I’ll keep the box. It will be 
my most cherished possession because it has brought me 
joy, a satisfaction of which I did not dream. (To Olive.) 
Do you remember what you said to me about one’s interest ? 

Olive. Yes— oh, yes. 

Miss Emery. I know now what you mean by the ab¬ 
stract interest for a cause, for a nation—it’s the interest I 
have always had; but I also realize the joy of claiming 
a part, even a small part, in this great world struggle. 

Olive. The interest—the personal interest! Oh, I knew 
it would come and I’m glad—so glad! 

Miss Emery. The personal interest—and I’ll make it 
count. (Suddenly.) There was something else in the lost 
bag which I forgot to mention. 

Julie. What? 

Miss Emery. My check book. And I need it now. 

Olive. For what? 

Miss Emery. For Belgium—for the Red Cross—and 
for the five young Americans who are working in its behalf. 

Julie (breathlessly). You mean— 

Miss Emery. That you shall have a check for twenty- 
five thousand dollars—a check that will push you over the 
top! 

Olive. Oh, Miss Emery—how wonderful—how won¬ 
derful ! 

Miss Emery. It’s a small exchange for what I’ve gained 
today—the chance to help save America. 

Julie. But it means victory for The Forever Five! 

Olive (as she falls on Julie’s shoulder). And fifty 
thousand dollars for the Red Cross! 


(Miss Emery takes check book from her bag and goes 


to desk.) 


Curtain. 




Safety First 

By SHELDON PARMER 

Price, 25 Cents 

Farce-comedy, in 3 acts; 5 males, 5 females. Time, 2% hours. 
Scenes: A parlor and a garden, easily arranged. A sprightly 
farce full of action and with a unique plot teeming with unex¬ 
pected turns and twists that will make the audience wonder “what 
on earth is coming next.’’ Behind the fun and movement lurks 
a great moral: Always tell the truth to your wife. The cast 
includes three young men, a funny policeman, a terrible Turk, 
two young ladies, a society matron, a Turkish maiden and Mary 
O’Finnigan, the Irish cook. The antics of the terror-stricken 
husband, the policeman, the dude and the Irish cook start the 
audience smiling at 8:15 and send them home with aching sides 
from the tornado of fun at 10:40. Suitable for performance any¬ 
where, but recommended for lodges, clubs and schools. Not a 
coarse or suggestive line in the play. 

SYNOPSIS 

Act I.—Jack’s lil suburban home. A misplaced husband. “He 
kissed me good-bye at eighteen minutes after seven last night, 
and I haven’t laid eyes on him since.” The Irish maid is full 
of sympathy but she imagines a crime has been committed. 
Elmer, the college boy, drops in. And the terrible Turk drops 
out. “Sure the boss has eloped wid a Turkey!” Jerry and Jack 
come home after a horrible night. Explanations. “We joined the 
Shriners, I’m the Exalted Imported Woggle and Jack is the Ba- 
zook!” A detective on the trail. Warrants for John Doe, Richard 
Roe and Mary Moe. “We’re on our way to Florida!” 

Act II.—A month later. Jack and Jerry reported drowned at 
sea. The Terrible Turk looking for Zuleika. The return of the 
prodigals. Ghosts! Some tall explanations are in order. “I never 
was drowned in all my life, was I, Jerry?” “We were lashed to 
a mast and we floated and floated and floated!” A couple of 
heroes. The Terrible Turk hunting for Jack and Jerry. “A Turk 
never injures an insane man.” Jack feigns insanity. “We are 
leaving this roof forever!” The end of a perfect day. 

Act III.—Mrs. Bridger’s garden. Elmer and Zuleika start on 
their honeymoon. Mabel forgives Jack, but her mamma does not. 
They decide to elope. Jerry’s scheme works. The two McNutts. 
“Me middle name is George Washington, and I cannot tell a 
lie.” The detective falls in the well. “It’s his ghost!” Jack and 
Jerry preparing for the elopement. Mary Ann appears at the 
top of the ladder. A slight mistake. “It’s a burglar, mum, I’ve 
got him!” The Terrible Turk finds his Zuleika. Happiness at last. 


Foiled, By Meek! 

By FREDERICK G. JOHNSON 

Price, 25 Cents 

A truly rural drama, in 1 scene and several dastardly acts; 
3 males, 3 females. Time, 35 minutes. Scene: The mortgaged 
home of the homespun drama, between sunup- and sundown. 
Characters: Reuben, a nearly self-made man. His wife, who 
did the rest. Their perfectly lovely daughter. Clarence, a rustic 
hero, by ginger! Olivia, the plaything of fate, poor girl. Syl¬ 
vester, with a viper’s heart. Curses! Curses! Already h'e has 
the papers. A screaming travesty on the old-time “b’gosh” drama. 


T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 






Mrs. Tubbs Does Her Bit 

By WALTER BEN HARE 

Price, 25 Cents 

_ Patriotic comedy-drama, in 3 acts; 7 males, 7 females (4 are 
children, 2 boys, 2 girls). Time, 2% hours. Scenes: Interior and 
a camp at midnight, very easily arranged. Characters: Mrs 
Mollie Tubbs, a patriotic mother. Aunt Serepty, a wealthy rela¬ 
tive. Clingie Vine, a romantic old maid. Mrs. Hickey, a kind 
neighbor. Elsie, a Red Cross nurse. James Tubbs, one of Uncle 
Sam’s boys. Simon Rubbels, the close-fisted landlord. Major Pep¬ 
per, commander of the camp. Nelson and Graham, privates. 
Queeme Tubbs, aged eleven. Scuffles, aged ten. Billy, a little 
feller. Punky, the Tubbs toddler. A refined and delightful play 
featuring a woman’s patriotism. The story is intensely dramatic 
and abounds in patriotic sentiment, relieved by several scenes of 
broad but refined comedy. Mrs. Tubbs gives her son to her coun¬ 
try and does her bit when she takes his place as sentry at the 
training camp at midnight. A Red Cross nurse lends a romantic 
touch to the play and a funny old maid and two mischievous 
children furnish the comedy. The audience will love this poor 
widow washwoman of Shantytown, who at the darkest moment 
has a ready smile and a song - of cheer in her heart. 

MRS. TUBBS SAYS: 

“A song and a smile makes life worth while. 

Eggs has riz sump’m scand’lous. How do the hens know 
there’s a war over in Europe? 

Some folks ’ud rather grunt than smile; I ain’t never heard 
a hog laugh yet, but they certainly can grunt. 

I know that if I had ten sons, I’d give each one of ’em to my 
country and be proud to say, ‘America, here’s my boy!’ 

I ain’t never received nothin’ yet from my rich relations except 
advice and picture post-cards and I ain’t goin’ to ask ’em now. 

I ain’t much, I know that, I’m only a poor widow washwoman 
livin’ in the slums of Shantytown, but I’m an American and I’ll 
stand up fer my country and my flag. 

Maybe Simon Rubbels ain’t as bad as he’s painted, but there 
ain’t no angel wings a-sproutin’ out of his shoulders and I’ve no¬ 
ticed that his breath smells a heap more like brimstone than it 
does like angel cake. 

I’ve made up my mind and when Mollie Tubbs makes up her 
mind the hull United States army and navy to boot can’t unmake 
it. Gimme that rifle! I’m doing my bit fer humanity and my 
native land. 

If every black cloud had a cyclone in it, the world ’ud a been 
blowed to toothpicks long ago. 

And quit lookin’ like a undertaker! 

It’s the little things in life that count, Scuffles. The little 
things. Why you might have a di’mond ring on your finger and 
a gold watch in your pocket, but if you only got one suspender 
button and that busts, then where are you? 

Hand to hand, foot to foot, shoulder to shoulder they march, 
the rich and the poor, the high and the low, the college man and 
the day laborer, the millionaire and the tramp, the white and 
the black, with one idea in their minds, one purpose in their 
hearts, one voice in their ears, a voice that says ‘Carry on, and 
on, and on, forward for God and home and The Star-Spangled 
Banner!’ ” 


T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



The Call of the Colors 

By LINDSEY BARBEE 

Price, 25 Cents 

A patriotic play in 2 acts; 4 males, 10 females. Time, IV 2 
hours. Scenes: 2 interiors, easily arranged. In act one a Red 
Cross gauze room is shown. A true-to-life picture; the awkward 
worker reprimanded for going a sixteenth of an inch too far; 
the suspicion of spies in the room; the girls’ opinion of slackers; 
their hero. Sergeant Hilton, back from “over there”; his mys¬ 
terious little black book' and the joy when Harrison dons the 
khaki. Tense interest, lightened by comedy. In act two the scene 
is transported to a French chateau near the firing line. A plucky 
girl unmasks a spy and saves a repository of ammunition from 
bombardment. Military enthusiasm, mysterious intrigue and a 
war-time love story—truly a combination symbolic of the days 
in which we live. A French peasant girl, an excellent part. 

SYNOPSIS 

Act. T. —The Red Cross gauze room has various visitors. Ser¬ 
geant Hilton proves the chief topic of conversation and the strange 
Miss Smith is cordially welcomed. Harrison Ray is declared a 
slacker—and Sergeant Hilton’s little black book causes much spec¬ 
ulation. Miriam makes an announcement; Harrison offers an ex¬ 
planation—and the boys go marching by! 

Act II.—Sergeant Hilton renews his acquaintance with Miriam 
and learns of the ammunition hidden in the village. The Germans 
arrive. The Sergeant loses his little black book—and Vilette brings 
news of the enemy. Miss Smith finds the book and sends a mes¬ 
sage. By means of the secret telephone, Cecile communicates 
with the other chateau—and the firing begins. Sergeant Hilton 
returns—in another role; a bugle sounds and the Stars and Stripes 
go floating by. The Sergeant, taken unawares, faces a revolver. 
Harrison Ray tells his story; the mystery is solved and the day 
is saved! 


Lottie Sees It Through 

By RAGNA B. ESKIL 

Price, 15 Cents 

Patriotic playlet; 3 males, 4 females. Time, 35 minutes. Scene: 
A scantily furnished living room. This timely play should induce 
any community to give liberally. Written for the Red Cross, 
but with the change of a few words it will plead for the Liberty 
Loan, the Y. M. C. A. fund or any other cause as worthy. Its 
action is based on the elemental question—can one refuse to 
give to his country and yet be at ease with his conscience? Still 
it is not a somber or dreary play—it has its light touches. It 
stirs the heart and its climax will arouse a fervor of patriotism 
only comparable to a religious revival. If unable to produce this 
Play, get someone to read it as it cannot help but stimulate action. 


T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 




DENISON’S ACTING PLAYS 

Price 15 Cents Each, Postpaid, Unless Different Price Is Given 










I 


m. r. 

Trial of Hearts, 4 acts, 2J4 hrs. 

_ . C-5c) . 6 13 

Trip to Storylaml, 1 M hrs. (25c) 17 23 
Uncle Josh, 4 acts, 2\i hrs. (,25c) 8 3 
l nuer Blue Skies, 4 acts, 2 

hrs.(25c) 710 

Under the Laurels, 5 acts, 2 hrs. 6 4 
Winning Widow, 2 acts, 1 JG hrs. 

(25c) . 2 4 

Women Who Did, 1 hr... (25c) 17 

Yankee Detective, 3 acts, 2 hrs. 8 3 


FARCES, COMEDIETAS, Etc. 


All on a Summer’s Day, 40 min. 

April Fools, 30 min. 

Assessor, The, 10 min. 

Aunt Harriet’s Night Out, 35 

min. 

Baby Show at Pineville, 20 min. 
Billy’s Chorus Girl, ~5 min... 

Billy’s Mishap, 20 min. 

Borrowed Luncheon. 20 min.. 
Borrowing Trouble, 20 min.... 
Case Against Casey, 40 min... 

Country Justice, 15 min. 

Cow that Kicked Chicago, 20 m. 
Divided Attentions, 35 min... 

Family Strike, 20 min. 

First-Class Hotel, 20 min.... 
For Love and Honor, 20 min.. 
Fudge and a Burglar, 15 min.. 
Fun in Photo Gallery, 30 min.. 
Getting Rid of Father, 20 min. 
Great Medical Dispensary, 30 m. 
Great Pumpkin Case, 30 min.. 
Ilans Yon Smash, 30 min.... 
Initiating a Granger, 25 min.. 
-Irish Linen Peddler, 40 min... 
Kansas Immigrants, 20 min... 
Lottie Sees It Through, 35 min. 
Men Not Wanted, 30 min.... 
Mother Goose’s Goslings, 30 m. 
Mrs. Jenkins’ Brilliant Idea, 35m. 
Mrs. Stubbins’ Book Agent, 30 m. 
Not a Man in the House, 40 m. 

Pair of Lunatics, 20 min. 

Patsy O’Wang, 35 min. 

Pat, the Apothecary, 35 min.. 
Persecuted Dutchman, 30 min. 
Please Pass the Cream, 20 min. 
Second Childhood, 15 min.... 

Shadows, 35 min. 

Sing a Song of Seniors, 30 min. 
Smith’s Unlucky Day, 20 m’n.. 
Talking Father’s Place, 30 min. 

That Rascal Pat. 30 nvn. 

Too Much of a Good Thing, 45 

min. 

Turn Him Out, 35 thin. 

Two Aunts and a Photo, 20 m. 
Two Gentlemen in a Fix, 15 m. 
Two Ghosts in White, 20 min.. 


4 6 


1 2 

19 - 
2 3 

2 3 
5 

3 5 
23 

8 

3 2 

1 4 

3 3 

4 

2 1 

5 

6 10 

3 1 
6 

12 

4 3 

5 

3 3 

5 1 
3 4 

8 

7 9 
8 

3 2 
5 

1 1 

4 3 

6 2 
6 3 
1 1 
2 2 
2 2 

7 

1 1 

5 3 
3 2 

3 6 
3 2 

4 

o 

5 


m. r. 

Tvva of a Kind, 40 min. 2 3 

Lncle Dick’s Mistake,.20 min.. 3 2 
Wanted a Correspondent, 45 m. 4 .4 
Watch, a Wallet, and a Jack of 

Spades, 40 min. 3 6 

The W hole Truth, 40 min. 5 4 

Who’s the Boss? 25 min.. . 3 6 

Wide Enough for Two, 45 min. 5 2 
Wrong Baby, 25 min. S 

VAUDEVILLE SKETCHES, MON¬ 
OLOGUES, ETHIOPIAN PLAYS. 

Amateur, 15 min. 1 1 

At Harmony Junction, 20 min. 4 

Axin’ Her Father, 25 min. 2 3 

Booster Club of Blackville, 25 m. 10 
Breakfast Food for Two, 20 m. 1 1 

Cold Finish, 15 min. 2 1 

Colored Honeymoon, 25 min... 2 2 
Coon Creek Courtship, 15 min. 1 1 

Coming Champion, 20 min.... 2 
Coontown Thirteen Club, 25 m. 14 

Counterfeit Bills, 20 min. 1 1 

Darktown Fire Brigade, 25 min. 10 
Doings of a Dude, 20 min.... 2 1 

For Reform, 20 min. 4 

Fresh Timothy Hay, 20 min... 2 1 
Glickman, the Glazier, 25 min. 1 1 

Good Mornin’ Judge, 35 min.. 9 2 

Her Hero, 20 min. 1 1 

Hey, Rube! 15 min. 1 

Home Run, 15 min. 1 1 

Hungry, 15 rain. 2 

Little Miss Enemy, 15 min.... 1 1 

Little Red School House, 20 m. 4 

Love and Lather, 35 min. 3 2 

Marriage and After, 10 tnin.. 1 

Memohis Mose, 25 min. 5 1 

Mischievous Nigger, 25 min.. 4 2 
Mr. and Mrs. Fido, 20 min.... 1 1 

Oh, Doctor! 30 min. 6 2 

One Sweetheart for Two, 20 in. 2 

Oyster Stew, 10 min. 2 

Pete Yansen's Gull’s Modcr, 10m. 1 

Pickles for Two, 15 min. 2 

Si and I, 15 min. 1 

Special Sale, 15 min. 2 

Street Faker, 15 min.. 3 

Such Ignorance, 15 m'n.. 2 

Sunny Son of Italy, 15 min.. 1 

Time Table, 20 min. 1 1 

Tramp and the Actress, 20 min. 1 1 

Troubled by Ghosts, 10 min... 4 
Troubles of Rozinski, 15 min.. 1 
Two Jay Detectives, 15 min.. 3 
Umbrella Mender, 15 min.... 2 
What Happened to Hannah, 15m. 1 1 


A great number of 
Standard and Amateur Plays 
not found here are listed in 
Denison’s Catalogue 


T.S. DENISON & COMPANY, Publishers,154 W. Randolph St. .Chicago 







































































POPULAR ENTERTAINMENT BOOKS 

Price, Illustrated Paper Covers, 30 cents each 



I N this Series 
are found 
books touching 
every feature 
in the enter¬ 
tainment field. 
Finely made, 
good paper, 
clear print and 
each book has 
an attractive 
individual cov¬ 
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Partial List 

DIALOGUES 

All Sorts of Dialogues. 

Selected, fine for older pupils. 
Catchy Comic Dialogues. 

Very clever; for young people. 
Children’s Comic Dialogues. 

From six to eleven years of age.' 
Country School Dialogues. 

Brand new, original. 

Dialogues for District Schools. 

For country schools. 

Dialogues from Dickens. 

Thirteen selections. 

The Friday Afternoon Dialogues. 

Over 50,000 copies sold. 

From Tots to Teens. 

Dialogues and recitations. 
Humorous Homespun Dialogues. 

■.For older ones. 

Little People’s Plays. 

From 7 to 13 years of age. 
Lively Dialogues. 

For all agc.s; mostly humorous. 
Merry Little Dialogues. 

Thirty-eight original selections. 
When the Lessons ar? Over. 

Dialogues, drills, plays: 

Wide Awake Dialogues. 

Original successful. 

SPEAKERS, MONOLOGUES 

Choice Pieces for Little People. 

A child’s speaker. 

The Comic Entertainer. 

Recitations, monologues, dialogues. 
Dialect Readings. 

Irish, Dutch, Negro, Scotch, etc. 
The Favonite Speaker, 

Choice ki|aseJaij£l poetry. 

The Friday 1 : J&fterrtoop Spe; 

For pupils of all a^es^ ■ 
Humorous Monologues. 

Particularly for ladies. 
Monologues for Young Folks. 
Clever, humorous, original. 


Monologues Grave and Gay. 

Dramatic and humorous. - >/ 

Scrap-Book Recitations. 

Choice collections, pathetic, hu¬ 
morous, descriptive, prose, 
poetry. 15 Nos., per No. 30c 

DRILLS 

The Best Drill Book. 

Very popular drills and marches. 
The Favorite Book of Drills. 

Drills that sparkle with originality. 
Little Plays With Drills. 

For children from 6 to 11 years. 
The Surprise Drill Beck. 

Fresh, novel, drills and marches. 

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The Boys’ Entertainer. 

Monologues, dialogues, drills. 
Children’s Party Book. 

Invitations, decorations, games. 
The Days We Celebrate. 

Entertainments for all the holidays. 
Good Things for Christmas. 

Recitations, dialogues, drills. 
Good Things for Sunday Schools, 
Dialogues, exercises-, recitations. 
Good Things for Thanksgiving. 

A gem of a book. 

Good Things for Washington- 
and Lincoln Birthdays. 

Little Folks' Budget. 

Easy pieces to speak, songs. 

One Hundred Entertainments. 

New parlor diversions, socials. 
Patriotic Celebrations. 

Great variety of material. 
Pictured Readings and Tableaux. 

Entirely original features. 

Pranks and Pastimes. 

Parlor games for children. 
Private Theatricals. 

IIow to put on plays. j ■ 
Shadow Pictures, Pantomimes, 
Charades, and how to prepare. 
Tableaux and Scenic Readings. 

New and novel; for all ages. 
Twinkling Fingers and Sway¬ 
ing Figures. For little tots. 
Yuletide Entertainments. 

A choice Christmas collection. 

MINSTRELS, JOKES 

Clack-Face Joker. 

Minstrels’ and end men’s gags. 

A Bundle of Burnt Cork Comedy. 
Monologues, stump speeches, etc, 
\via the Ha-Ha Route, 
trip for fun tourists, 
strels. 

about the business. . 

The New Jolly Jester. 

Funny stories, jokes, gags, etc. 

Large Illustrated Catalogue Free 



T.S. DENISON 8i COMPANY,Publishers,154W. Randolph St., Chicago 











































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A WORLD LEADER IN COLLECTIONS PRESERVATION 

111 Thomson Park Drive 
Cranberry Township, PA 16066 
(724) 779-2111 






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